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Raf SimonsのLA MAISON DIORにみるéléganceの違和感 : クチュールメゾンの設計過程
http://hdl.handle.net/10091/00019255
http://hdl.handle.net/10091/00019255127424ac-681c-4a26-88ba-2023a70b6ac1
名前 / ファイル | ライセンス | アクション |
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Some_Little_Bewilderment_elegance_LA_MAISON_DIOR.pdf (2.1 MB)
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Item type | 学術雑誌論文 / Journal Article(1) | |||||
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公開日 | 2016-10-28 | |||||
タイトル | ||||||
言語 | ja | |||||
タイトル | Raf SimonsのLA MAISON DIORにみるéléganceの違和感 : クチュールメゾンの設計過程 | |||||
言語 | ||||||
言語 | jpn | |||||
DOI | ||||||
識別子タイプ | DOI | |||||
関連識別子 | https://doi.org/10.5057/jjske.TJSKE-D-16-00081 | |||||
関連名称 | 10.5057/jjske.TJSKE-D-16-00081 | |||||
キーワード | ||||||
主題 | Haute couture, Élégant, Couturie, Design | |||||
資源タイプ | ||||||
資源 | http://purl.org/coar/resource_type/c_6501 | |||||
タイプ | journal article | |||||
その他(別言語等)のタイトル | ||||||
その他のタイトル | Some Little Bewilderment of “elegance” in the LA MAISON DIOR of Raf Simons : Design Process of Fashion Clothing in Couture Maison | |||||
著者 |
鈴木, 明
× 鈴木, 明× 高寺, 政行× 大谷, 毅 |
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信州大学研究者総覧へのリンク | ||||||
氏名 | 高寺, 政行 | |||||
URL | http://soar-rd.shinshu-u.ac.jp/profile/ja.OCANONkV.html | |||||
信州大学研究者総覧へのリンク | ||||||
氏名 | 大谷, 毅 | |||||
URL | http://soar-rd.shinshu-u.ac.jp/profile/ja.gCkpPUkF.html | |||||
出版者 | ||||||
出版者 | 日本感性工学会 | |||||
引用 | ||||||
内容記述タイプ | Other | |||||
内容記述 | 日本感性工学会論文誌. 15(5):589-601 (2016) | |||||
書誌情報 |
日本感性工学会論文誌 巻 15, 号 5, p. 589-601, 発行日 2016-09-30 |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Ever since the couture maison Christian Dior (CD) joined the Chambre Syndicale De La Haute Couture, it has been presenting its biannual runway shows for approximately 70 years. “Aesthetic elegance” the essence of haute couture is what couturiers in Christian Dior have to portray in their garments. However, Raf Simons, who took over Dior after John Galliano, was unable to do this. This paper proves this fact by using the criteria set by Suzuki from his working experience with Guy Laroche in 1980s. Using this criteria, examined are Galliano's 11 AW and Simons' 14 AW as well as his 12 AW as appearing in the film “Dior and I,” which describes the designing and manufacturing process of the collection. The study confirms that while Galliano met the standard of haute couture, Simons did not in that he did not compromise with the brand in his minimalism even though he did in terms of color. Simons' career cannot be termed as that of a true couturier. If his minimalism continues, haute couture, which necessitates gorgeousness, will disappear in CD. It was also revealed that the ateliers of couture maisons cannot do efficient work without well-trained couturiers. The paper confirms and concludes that couturiers affect the existence of couture maisons. | |||||
資源タイプ(コンテンツの種類) | ||||||
内容記述タイプ | Other | |||||
内容記述 | Article | |||||
ISSN | ||||||
収録物識別子タイプ | ISSN | |||||
収録物識別子 | 1884-0833 | |||||
書誌レコードID | ||||||
収録物識別子タイプ | NCID | |||||
収録物識別子 | AA12442067 | |||||
権利 | ||||||
権利情報 | Copyright © Japan Society of Kansei Engineering. / Notice for the use of this material The copyright of this material is retained by the Japan Society of Kansei Engineering (JSKE). This material is published on this web site with the agreement of the author (s) and the JSKE. Please be complied with Copyright Law of Japan and the Relevant statutes if any users wish to reproduce, make derivative work, distribute or make available to the public any part or whole thereof. | |||||
出版タイプ | ||||||
出版タイプ | VoR | |||||
出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 |